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Stanley Ka Dabba (2011)
Simple in its plot and storytelling, yet complex with its metaphors of friendship, hunger & the egalitarian powers of the school uniform
There are some films that move you beyond critical appreciation. Stanley Ka Dabba is one of them. It's endearing, poignant and uncluttered. Unlike its predecessor Taare Zameen Par that was a film about kids for parents, Stanley Ka Dabba is for children. And if you're looking right, there is food-for-thought for grown-ups too. One of those films that is simple in its plot and storytelling, yet complex with its metaphors of friendship, hunger, right to education and the egalitarian powers of the school uniform.
As an adult, it triggers a flood of memories. In our time, a school wouldn't be a school if you didn't have science teachers like Mrs Iyer. Hardly a caricature, this was a breed that believed in strict countenances and textbook talks. Often stepped in mediocrity themselves, they were usually blind to unconventional flashes of brilliance in their students. And who hasn't heard stories of friends who fell prey to the 'righteousness of right-handedness'. But the strongest connect of the story was obviously with the Dabba.
We've all been a part of dabba gangs and had our share of dabba stories in school. I remember that if my mother packed noodles, burgers or pizzas instead of the regular dal- roti-sabzi, I'd definitely be the dabba-star of the day. What we didn't realise then is that the dabba often revealed everything the uniform tried to hide. But then, class differences hardly mattered in class. That's the beauty of innocence, and Amole Gupte captures it well.
The main thread of course pits hunger versus gluttony, innocence versus shame and dignity versus disgrace. There are two parallel worlds, one that centres around the very-popular Stanley in Stanley's classroom; and the other in the staffroom where 'Verma sir' unwittingly entertains with his antics. Both their lives are strangely similar. Both long for food – one out of hunger, the other out of gluttony. And both get their share – one out of friendship, the other of pity. But when their worlds' collide, you wonder if quiet dignity has the power to embarrass shame.
As a film for kids, the messaging is quite clear without a talk-down or a dumb-down of the issues. I was personally quite entertained by a very talkative little girl who sat behind me in the theatre. She completely identified with Stanley and his world, was very upset with the actions of the 'khadoos sir', implored her father with questions on why Stanley never got his dabba and often tried to pre-empt the story in her way. She behaved exactly like how the director would have wanted her too. And I'm quite sure that she will learn to value her dabba a little more when she gets back to school after the summer holidays.
As a documentary film maker, I believe that a documentary with messaging on child labour would never have had the same reach as a Stanley Ka Dabba. I'm glad Amole Gupte decided to push the limits and set his story in the space of actuality, but within the grammar of fiction. The hybrid works really well for me. I'm sure with time, it will charm the cynic too. For now, I'd rate it beyond critical appreciation.
Inception (2010)
Why Chris Nolan's Inception will not go down in my list of greatest-ever films
http://mayurica.blogspot.com/2011/05/inception.html
Nolan likes to tempt & tease. He wants you to come back for more, again and again, until you've cracked it. And then, you can anoint him as the God of mind-f@#$ed stories. Just that, this time even though I'm tempted to re-enter his carefully constructed world of the layered dreams, I don't think I'm going to be wow-ed.
No doubt, the concept intrigues. And engages. Makes you think. And before you know it, you're struggling between what's real and what's not. But it's not exactly a brand new idea. Matrix is probably the godfather of the real Vs virtual paradox. There have been other films too that have explored the idea of living in the mind, or in an alternate virtual environment. Tarsem's 'The Cell' & the obscure Jude Law/Jennifer Jason Leigh's 'eXistenZ come close. One of the scenes towards the end of the film made me wonder if this was Shutter Island all over again. Eternal sunshine is a genre apart, but somehow creeps in as well. But don't get me wrong - all these references take nothing away. On the contrary, they help you place Nolan's new world in context. And he tweaks it quite a bit. So, it's not set in the conscious mind, but in a maze of carefully-crafted dreams. Fueled by imagination, constructed by architects and controlled by a set of logic and laws that are as malleable & transient as the dreams themselves!
Inception therefore lends itself to an extraordinary scale. And forges some unique action sequences that are here to stay! I loved the zero-G stunts, and almost every other thing with twisted physics. The scene where Page experiments with city architecture is absolutely fascinating. As the story progresses, you keep wanting to pick the director's brain. How on earth did he manage to construct such a coherent labyrinth of ideas and then weave them into intricate plots, without seeming contrived or predictable
all the while deftly leading his characters deeper and deeper through a vortex? And you can't help being sucked in. It's giddy. It's exhilarating. It screws your mind.
So, what's my grouse? Nothing that's terribly important! Just that, somehow I feel Nolan didn't need a visual spectacle to keep me hooked to this story. Maybe, he wanted to scale up post the Batman movies. Maybe he felt that its the least his audiences expect of him. But for me, I would have been just as happy without the mega-military intrusions, and the spectacular avalanches. I would have been just as happy to skip the very Bourne-like Mombasa sojourn. Just as happy without the mega-adventure & action tag. Because if it's about the mind and the ideas, I'm happy being served word-play! The mission and its improbability intrigue me anyway. I don't need guns to steal or plant ideas, I'd rather watch thoughts steal thoughts, or thoughts plant thoughts. At the most, throw in some chases in mazes, and confound me with the surreal. Fox me with deep thought and the vivid imagination and the crazy physics. Like Di Caprio's mind that lives in a multi-storied apartment, set in the most splendid & decaying mega city by the sea. And honestly, that was more interesting.
(Spoilers Ahead) Which perhaps explains why, the innermost dream and finale was reserved for Di Caprio quietly battling his demons. Or Fischer's final chat with his dad. The final scene was pure wicked! What I didn't get is a basic question - How is everyone in the same dream? And even, how did Di Caprio know that the Jap guy was in limbo? Though, I did like the idea of using Ellen Page's character for the audience's standpoint. If you're not sure what's happening, just wait for her to ask around!
But the answers aren't that important. Chances are when I see it again, I'll probably find it. Because Nolan is one of the finest story-tellers of our time. Just that, he might have done a bit too much with this film.